Artist
A Life Forged in the Shadows of History
Born Hans-Georg Bruno Kern on January 23, 1938, in the small German village of Deutschbaselitz, the artist who would become known to the world as Georg Baselitz was a child of profound transition and upheaval. Growing up in the Upper Lusatia region amidst the literal and metaphorical rubble of World War II, his early consciousness was inextricably linked to themes of destruction, displacement, and the fractured order of a shattered society. This formative environment—marked by the loss of community and the lingering trauma of occupation—became the bedrock of his artistic vision. The devastation he witnessed did not merely provide subject matter; it instilled in him an urgent, lifelong need to question established conventions and to explore the very nature of perception through the lens of a world that had been turned upside down.
His early artistic inclinations were nurtured by a deep intellectual curiosity and significant cultural encounters. The influence of his father, an elementary school teacher, fostered a disciplined approach to observation, while the profound writings of Jakob Böhme provided a spiritual and philosophical complexity to his worldview. A pivotal moment in his development occurred when he encountered Louis-Ferdinand von Rayski’s Wermsdorfer Wald at a local school assembly. This masterpiece of realism ignited a fascination with capturing visual truth, leading him to produce portraits, religious subjects, and landscapes that, even in his youth, hinted at a more futuristic and unsettling vision.
The Revolution of Inversion and Neo-Expressionism
As the art world moved toward the sterile intellectualism of Minimalism and Conceptual Art in the 1960s, Baselitz staged a visceral rebellion. He became a leading voice of Neo-Expressionism, a movement that sought to reclaim the raw power and emotional intensity of figurative painting. However, his contribution was far from a simple return to tradition. In 1969, Baselitz introduced one of the most radical innovations in modern art: the technique of painting his subjects upside down. This deliberate inversion was not a mere gimmick; it was a profound attempt to strip the subject of its representational, content-driven character. By turning the figure on its head, he forced the viewer to confront the artifice of the painting itself—to look past the "what" of the image and focus instead on the texture, color, and the physical reality of the paint on canvas.
This period saw the emergence of works that challenged the very boundaries of the medium. His compositions often oscillated between recognizable figuration and a chaotic, feverish energy. In monumental pieces like Supper in Dresden, he reimagined historical narratives through a lens of disarray and chromatic collision, using striking shades of pink, blue, and black to create a sense of restless, uncontainable energy. His work during this era functioned as an excavation of the human condition, utilizing distortion to express vulnerability and the inherent instability of memory and identity.
A Lasting Legacy of Provocation
Throughout his prolific career, Baselitz’s artistic language has been a complex tapestry woven from myriad influences, ranging from the starkness of Socialist Realism and the dramatic tension of Mannerism to the primal rhythms of African sculpture. This eclectic synthesis allowed him to create a body of work that feels both deeply rooted in German history and universally resonant in its exploration of existential struggle. Whether through his commanding oil paintings, his evocative sculptures, or his intricate graphic works, Baselitz has remained steadfast in his commitment to a style characterized by unsettling honesty.
The historical significance of Georg Baselitz lies in his ability to transform the trauma of the past into a revolutionary aesthetic for the future. He did not merely document destruction; he used it as a tool to rebuild the language of painting. His achievements include:
Redefining Figuration: Breaking the reliance on narrative content through the radical use of inversion.
Mastery of Neo-Expressionism: Leading a global revival of emotional, visceral painting in an era of conceptual dominance.
Exploration of Identity: Using distorted forms to grapple with the complexities of post-war German identity and the fragility of the human form.
Technical Innovation: Integrating diverse cultural influences into a singular, unmistakable artistic voice that continues to influence generations of painters and sculptors.
Today, Baselitz stands as one of the most influential figures of the twentieth century, a painter whose work remains a powerful testament to the resilience of creativity in the face of chaos.
Museum
On show in Zurich, Switzerland
The History of Kunsthaus Zürich
The origins of Kunsthaus Zürich trace back to 1901, when it was founded by the Zürcher Kunstgesellschaft. What began as a society dedicated to fostering an appreciation for artistic expression has grown into Switzerland’s largest cultural institution. The museum is located in Zurich, Switzerland, and occupies the largest area of any art museum in the country.
The institution has evolved through several stages of development, expanding its reach from its initial foundations to its current status. Its growth reflects the changing needs of the city and the expanding scope of its holdings. The museum's narrative is tied to its physical expansion, moving from its early beginnings to become a central pillar of Swiss cultural life.
The Architecture of the Museum Complex
The architectural identity of the Kunsthaus Zürich is defined by a series of distinct structures that reflect the institution's growth since the early 20th century. The original museum part was designed by architects Karl Moser and Robert Curjel and opened in 1910. This initial structure, known as the Moserbau, features Neo-Grec interiors decorated in the Secession style. The building's facade includes bas-reliefs by Oskar Kiefer.
As the collection expanded, the museum underwent several phases of physical growth. The original building was extended in 1925, 1958, and 1976. These additions resulted in a complex comprising the Moserbau, the Bührlesaal, and the Müllerbau. This progression of construction reflects the institutional need to accommodate increasing numbers of works over several decades.
A significant transformation occurred with the completion of the Chipperfield extension in 2020. This $230 million addition is a massive rectangular sandstone-covered building. It provides 13,000 square meters of usable area and increases the museum's size by more than 80 percent. A subterranean link connects this modern structure to the original museum across the street at Heimplatz. The design prioritizes light and spatial fluidity, creating a large atrium that links the various parts of the complex.
A Diverse Collection of Artworks
The collection spans from the Middle Ages to contemporary art, representing one of the most significant assemblages of art in Switzerland. The holdings include works by Claude Monet, Edvard Munch, and Pablo Picasso. These are held alongside the sculptures of Alberto Giacometti and the pieces of Jacques Lipchitz. The museum also contains works by Joseph Beuys.
A significant portion of the museum is dedicated to Swiss art. This includes the works of Johann Heinrich Füssli, Giovanni Segantini, and Ferdinand Hodler. The collection also features Félix Vallotton and the Zurich concrete artists, including Bill, Glarner, and Loewensberg.
La Guerre, 1896 - Arnold Böcklin
Wood with Squirrel, 1913 - Franz Marc
The Water Lily Pond in the Evening, 1922 - Claude Monet
Composition with Red, Blue and Yellow, 1930 - Piet Mondrian
Houses of Parliament, Sunset, 1904 - Claude Monet
Sleeping Venus Surprised by Satyrs, 1625 - Nicolas Poussin
Masterpieces of the Art Collection
The collection contains the largest assembly of works by Edvard Munch outside of Norway. These pieces offer a significant look at his psychological depth and expressive technique. Alongside these, the museum holds an extensive permanent loan of works by Alberto Giacometti, representing one of the most significant collections of his oeuvre. The presence of these works allows for a direct study of his approach to form and existential weight.
Impressionism and the evolution of modern painting are represented through several key figures. Claude Monet is represented by an enormous water lily painting, a work that captures the specific light and atmosphere of his garden. The museum also holds significant works by Vincent van Gogh, Édouard Manet, Henri Matisse, and René Magritte. These paintings provide a framework for understanding the shifts in visual language during the late 19th and early 20th centuries.
Water-Lily Pond, Evening (right panel), 1920 - Claude Monet
Girl with Doll. Erdmute Esche with Polar Bear and Doll, 1905 - Edvard Munch
Self-Portrait, 1895 - Edvard Munch
Portrait of Hanni Esche, 1905 - Edvard Munch
Contemporary Art and Modern Movements
The collection encompasses significant developments in the history of the avant-garde, including one of the most important holdings of Dadaism. This focus on radical shifts in thought extends into the mid-twentieth century, where the museum holds works by Pop artists such as Andy Warhol and Richard Hamilton. These pieces reflect the era's engagement with mass culture and the visual language of consumerism.
The institution maintains a commitment to the evolution of contemporary practice through its dedication to artists like Pipilotti Rist and the collaborative work of Peter Fischli and David Weiss. These artists represent the continued expansion of the museum's scope into immersive and conceptual territories. The presence of works by Mark Rothko, Cy Twombly, and Georg Baselitz further situates the collection within the broader movements of abstraction and post-war expression.
Turicum Pixelwald by Pipilotti Rist
